Glossary
Call and Response
A musical texture where a soloist or group presents a phrase (the 'call') which is then answered by another soloist or group (the 'response').
Example:
In a jazz improvisation, one instrument might play a short melodic idea, and another instrument immediately offers a musical call and response.
Canon
A contrapuntal compositional technique that employs a melody with one or more imitations of the melody played after a given duration.
Example:
Singing 'Row, Row, Row Your Boat' as a round is a common example of a musical canon.
Cantus Firmus
A pre-existing melody used as the foundational voice in a contrapuntal composition, around which other voices are written.
Example:
In a counterpoint exercise, the student writes new melodic lines above or below the given cantus firmus.
Contrary Motion
A type of voice leading where two melodic lines move in opposite directions (one ascends while the other descends).
Example:
If the bass line moves down while the soprano line moves up, they are exhibiting contrary motion.
Counterpoint
A specific type of polyphony focusing on how independent melodic lines interact harmonically according to specific rules, creating a harmonious whole.
Example:
Studying counterpoint helps composers create intricate and balanced melodic interactions.
First Species (Counterpoint)
The simplest form of counterpoint where one note in the counterpoint corresponds to one note in the *cantus firmus*, typically using whole notes.
Example:
A beginner's first species exercise might involve writing a single melodic line above a given whole-note melody.
Homophony
A musical texture featuring one main melody supported by harmonic accompaniment.
Example:
Most pop songs feature a lead vocal melody with chordal accompaniment, showcasing homophony.
Monophony
A musical texture consisting of a single melodic line without any harmonic accompaniment.
Example:
A lone singer performing an a cappella folk song demonstrates monophony.
Musical Texture
The overall quality of sound in a piece of music, determined by how many musical lines are present and how they interact.
Example:
The rich layers of a symphony orchestra create a complex musical texture.
Oblique Motion
A type of voice leading where one melodic line stays on the same pitch while another line moves.
Example:
A sustained pedal tone under a moving melody demonstrates oblique motion.
Parallel Fifths
A voice leading error where two voices move from one perfect fifth to another perfect fifth by the same interval in the same direction.
Example:
Moving from C4-G4 to D4-A4 in two voices simultaneously creates forbidden parallel fifths in strict counterpoint.
Parallel Octaves
A voice leading error where two voices move from one octave to another octave by the same interval in the same direction.
Example:
Moving from C4-C5 to D4-D5 in two voices simultaneously creates forbidden parallel octaves in strict counterpoint.
Perfect Consonances
Intervals considered stable and pleasing in traditional harmony, specifically perfect octaves and perfect fifths.
Example:
In traditional voice leading, phrases often resolve to perfect consonances for a sense of finality.
Polyphony
A musical texture characterized by multiple independent melodic lines occurring simultaneously, each with its own distinct character.
Example:
A complex fugue by Bach is a prime example of polyphony, where several melodies intertwine.
Second Species (Counterpoint)
A contrapuntal species where there are two notes in the counterpoint for every one note in the *cantus firmus*, allowing for dissonances on weak beats.
Example:
In second species, a quarter-note melody might move against a half-note cantus firmus.
Third Species (Counterpoint)
A contrapuntal species where there are four notes in the counterpoint for every one note in the *cantus firmus*, introducing more melodic embellishments.
Example:
A lively third species line might feature sixteenth notes against a whole-note cantus firmus, adding rhythmic complexity.
Tritone
An augmented fourth or diminished fifth interval, often considered dissonant and unstable in traditional harmony.
Example:
The interval from F to B natural is a tritone, which composers often resolve to a more consonant interval.
Voice Leading
The melodic and harmonic movement of individual musical lines within a composition, guided by principles of smooth and logical progression.
Example:
Good voice leading ensures that each part in a four-part chorale moves gracefully and avoids awkward leaps.